Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.

Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Don't show me this message again

Joshua

Introduction

Synopsis – Act I The single-movement orchestral ‘Introduzione’ is one of Handel’s shortest openings to an oratorio, lasting for just four lines of the score and leading straight into the opening chorus. Handel was clearly anxious to get on with the action. ‘Ye sons of Israel’ dispels any thought that the work is on anything but a grand scale with the Israelites rejoicing at the conquest of Canaan and their miraculous passage over the river Jordan which ends forty years in the wilderness. ‘In Gilgal, and on Jordan’s banks proclaim’ is introduced by an unaccompanied vocal entry—the first of many that form a thread running throughout the oratorio. Joshua enters, self-assured to the point of conceit, his confidence bolstered by the flattering tongue of the warrior Caleb, whose aria ‘Oh first in wisdom’ continues the jaunty, confident vein. Achsah, Caleb’s daughter, brings a dramatically necessary change of mood, contrasting the suffering of captivity in Egypt with the joy of arrival in Canaan in her wistful aria ‘Oh, who can tell’ whose prominent parts for solo violin and cello are reminiscent of La Resurrezzione. The calm interlude does not last long, for Joshua returns, giving orders in his recitative ‘Caleb attend’ to set up a monument in Gilgal to ensure that future generations are aware of the Israelites’ miraculous escape. Joshua introduces, with an unaccompanied phrase, the chorus ‘To long posterity we here record’, full of vivid effects of the floods rolling back and forth which hark back to Israel in Egypt. The theme of flowing water continues in the aria ‘While Kedron’s brook’, with Joshua’s lyrical thread punctuated by orchestral dotted rhythms.

Othniel, a young warrior (betrothed to Achsah) appears on the scene at the same moment as an angel. His aria ‘Awful, pleasing being, say’ is not Handel’s most memorable (but he compensates later in the work with some marvellous writing for his alto soloist) but the pace of the drama is quickly restored as the Angel presents his credentials. Joshua is (for a change) suitably reverent and, in a dramatic accompagnato, the Angel delivers his bloodthirsty message that Jericho must be destroyed, giving the comforting assurance that victory will be easy. No time is wasted, and in the splendid aria ‘Haste, Israel, haste’ Joshua commands his followers to carry out their destructive task. The results are immediately heard in the chorus ‘The Lord commands, and Joshua leads’. After such warlike thoughts it is again time for a pastoral interlude: Handel obliges with a gem, the accompagnato ‘In these blest scenes’ where Othniel, wandering through quiet countryside, is on his way to meet Achsah, Caleb’s daughter, to whom he is betrothed. Her entry ‘Oh Othniel’ is quite exquisite. Morell’s excuse for Achsah’s solo ‘Hark, ’tis the linnet’ is somewhat manufactured, but Handel’s response to the text, full of bird calls from solo soprano, flute and violin, is delightful. The two lovers dally a little longer in the duet ‘Our limpid streams’, but the scene is shattered by a warlike trumpet flourish, made all the more dramatic as this is the first time we have heard the brass. Othniel makes clear his desire to seek Achsah’s hand as soon as Jericho has been destroyed, and the chorus close Act I wishing their hero luck in the coming conflict.

Act II In Act II Joshua has been laying seige to Jericho for six days. He orders the final trumpet blast. Handel’s ‘Solemn March during the circumvection of the Ark of the Covenant’ (adapted from Muffat’s Componimenti) is as awe-inspiring in its solemnity as it is in its sheer volume, and leads into the splendid three-section chorus ‘Glory to God’. Solo trumpet and horn echo the preceding March, Joshua praises God, the massed choral and orchestral forces reinforce him and, with insistent dotted rhythms in the orchestra, the walls begin to totter. But it is for the middle Adagio section ‘The nations tremble’ that Handel reserves his finest effects. In a musical score which is black with notes the awe-struck chorus cower, the brass blast chilling low fanfares, the strings vividly represent the tumbling walls in rapid scales and the timpani thunder. Jericho crashes down, and Caleb is triumphant in his command to lay waste to the remainder of the city and its populace, remembering though to command the sparing of Rahab, who had been sympathetic to the Israelites’ cause. ‘See, the raging flames arise’ reverts successfully to the type of operatic aria originally written for Montagnana: the rapid scales representing the flames which add to the destruction of Jericho are contrasted with the ‘dismal groans and cries’.

Once again it is Achsah who tries to bring the Israelites down to earth, attempting to convince them that their triumph will not last. ‘To vanity and earthly pride’ is a contrast to what has gone before, its simple melody added to by delicious harmony at ‘The firmest rock’. In the solemn ‘Almighty ruler of the skies’ Handel is again inspired, as the entire company of Israelites, including ‘High Priest, Priests, Chiefs, Elders and a full assembly’ celebrate the passover and praise God for their deliverence. Over a ground bass the voices of the chorus enter one by one, led by Joshua, joining together with the whole orchestra in great magnificence at ‘His glory did on Sinai shine’. Achsah’s reproving advice however is not heeded, for Caleb announces that disaster has struck: overconfident soldiers sent to test the defences of Ai have been repulsed, and Israel mourns. Handel’s appetite for a tragic chorus appears to have been inexhaustible for, in the type of movement which appears in half a dozen oratorios, but is no less effective here for that frequency, flutes and strings introduce a ‘Chorus of defeated Israelites’—‘How soon our tow’ring hopes are cross’d’.

Joshua, seeing such dejection, rouses the miserable troops, reminding them of their success at Jericho. ‘With redoubled rage return’ is a marvellous aria, made all the more effective as it swings into the chorus ‘We with redoubled rage return’. Seeing confidence restored to the masses, Othniel’s mind returns to other matters, and, seeking ‘breath’ he goes off to find Achsah, for soldiers need things other than war to balance their diet. The catchy tune of the gavotte ‘Heroes when with glory burning’ was used by Handel no less than seven times before it appeared in this context. Achsah too is pining for Othniel: her aria ‘As cheers the sun’ is a marvellous piece of craftsmanship, with the strings’ ‘falling show’r’ gradually reviving the ‘tender flow’r’ until the downward scales have taken over the whole movement. Caleb is furious seeing Othniel wasting his time with Achsah and, sending his daughter away, stirs Othniel back into warrior-like action with the news that the Gibeonite allies are endangered by a Canaanite league under Adoni-zedeck, King of Jerusalem. ‘Nations, who in future story’ has a quietly noble melody. Joshua is delighted by the united scene he now sees, and once again, two ‘Flourishes of warlike instruments’ introduce military action.

‘Oh thou bright orb’ is one of Handel’s most original movements. Over a soft accompaniment of violin semiquavers Joshua, seeing that bad light may stop the battle, commands the sun to stop in its course: as it does so, all orchestral movement ceases, with the violins holding their high A for nine bars. Then, addressing the slower-moving moon, represented by the violas, he commands that too to halt. Now the whole string section is motionless, and the chorus exclaim in wonder ‘Behold! the list’ning sun his voice obeys’. Over increasing choral movement the sustained high A still continues, first in the oboes, and then, for nine long bars, in a solo trumpet: disbelieving nineteenth-century orchestral editors re-scored Handel and spread this thirty-second ‘tour-de-force-de-poumon’ between two players! At ‘They yield, they fall, they die’, the solo trumpeter, too, gratefully expires (Handel evidently had a sense of humour), and then the tutti brass enter for ‘Before our arms the scattered nations fly’. Once again the enemy are routed and flee and, as section by section the voices and instruments expire, Act II ends quietly.

Act III Act III begins with Joshua’s position once again that of a hero now guaranteed a position in history. In ‘Hail mighty Joshua’ Handel gives the fugal entries at ‘And grateful marbles’ a notable rising theme. Achsah too is delighted in her cheerful aria ‘Happy, O thrice happy we’. Joshua proposes to divide the conquered territory amongst the tribes and is reminded by Caleb of his part in the conquest of Hebron: Joshua immediately gives this land to Caleb and his Judaean tribe. Caleb however is starting to feel his age, and Handel produces another jewel with the hymn-like ‘Shall I in Mamre’s fertile plain’ whose theme of noble resignation is enhanced by the chorus’s entry ‘For all these mercies we will sing’. Othniel reminds Caleb that one city remains unconquered. Caleb announces that it is time to hand over military matters to a younger man and, as an inducement, the hand of Achsah will be the reward for whoever can subdue the remaining city of Debir. Othniel can hardly believe his good fortune, and in the splendidly rousing ‘Place danger around me’ (as lively an alto aria as Handel ever wrote) he goes off to war. The Israelites pray for him in battle in the moving slow chorus ‘Father of mercy’ and no sooner have they completed their prayers than Joshua enters to tell the good news that Othniel has been victorious.

The public reaction to ‘See the conqu’ring hero comes’ when it was first heard in Joshua was one of ecstasy: Handel too knew that he had scored another bullseye. Its great success ensured that he inserted it into revivals of Judas Maccabaeus. Its formula was simple, with a three-part procession: in the first verse a ‘Chorus of Youths’, accompanied by organ ‘tasto solo’ alternate and combine with two horns: in the second verse a semi-chorus (or possibly originally two soloists, mistakenly attributed by Chrysander as being a ‘Chorus of Virgins’) are accompanied by two flutes and organ, and in the third, formal verse the entire company, minus the horns, join together. Handel’s instruction to the ‘Tamburo’ (military side drum) was quite specific: ‘ad libitum; the second time warbling’.

Achsah now is delighted too, for Caleb gives his blessing to Othniel and her marriage, and she exults in the famous aria ‘Oh had I Jubal’s lyre’. The melody dates from nearly forty years earlier, first used in the settings of Laudate pueri dating from 1706 and 1707, and then used again the year after Joshua in Solomon. (Morell’s libretto read ‘Oh had I Jubal’s sacred lyre’ which manuscripts show Handel set for a couple of phrases before he realised there was a better scansion available by missing out the ‘sacred’). Before the final exulting chorus we are allowed one more gentle love duet, ‘Oh peerless maid’, before Caleb, now as an elder statesman, announces the final chorus. ‘The great Jehova is our awful theme’ begins in block chords as a solemn hymn but quickly switches to a fugal texture. The block chords return for the end, with the final massive ‘Halleluia’ dominated, significantly when we remember their important role in the work, by ringing brass fanfares.

Recordings

'With first-rate casts and careful attention to Handel's original texts, King has blown the dust off some magnificent music' (BBC Record Review)'The whole production is excellent and I cannot recommend this new disc more highly' (Organists' Review)» More

Joshua:
Behold, my friends, what vast rewards are giv’n
To all the just, who place their faith in heav’n!
Oh! had your sires obey’d divine command,
They too, like you, had reach’d the promis’d land;
But rebels to the laws th’Almighty gave,
They, in the Desert, met an early grave.

Caleb: O Joshua, both to rule and bless ordain’d;
When Moses the eternal mansions gain’d,
What boundless gratitude to heav’n we owe,
Who did in thee a chief so wise bestow!
Courage and conduct shine in thee complete,
Justice and mercy fill thy judgment seat.

Joshua:
Caleb, attend to all I now prescibe;
One righteous man select from ev’ry tribe,
To bear twelve stones from the divided flood,
Where the priests’ feet, and holy cov’nant stood;
In Gilgal place them: hence twelve more provide,
And fix them in the bosom of the tide:
These when our sons shall view with curious eye,
Thus the historic columns shall reply:

Othniel:
But, who is he?—Tremendous to behold!
A form divine in panoply of gold!
With dignity of mien, and stately grace,
He moves in solemn, slow, majestic pace;
His auburn locks his comely shoulders spread,
A sword his hand, a helmet fits his head;
His warlike visage, and his sparkling eye
Bespeak a hero, or an angel nigh.

Angel: Leader of Israel, ’tis the lord’s decree,
That Jericho must fall, and fall by thee:
The tyrant king, and all his heathen train,
At their own idol-altars shall be slain:
Th’embattl’d walls, and tow’rs, that reach the sky,
Shall perish, and in dusty ruin lie;
Scatter’d in air, their ashes shall be tossed,
The place, the name, and all remembrance lost.

Joshua: To give command, prerogative is thine:
And humbly to obey, the duty’s mine.

Othniel:
In these blest scenes, where constant pleasure reigns,
And herds and bleating flocks adorn the plains:
Where the soft season all its blessings sheds,
Refreshing rivers, and enamell’d meads;
Here, in the covert of some friendly shade,
Direct me, Love, to Achsah, blooming maid.

Othniel:
O Achsah, form’d for ev’ry chaste delight,
T’inspire the virtuous thought and charm the sight;
Thy presence gilds the variegated scene,
To the green olive adds a brighter green;
White to the lily, blushes to the rose,
With deeper red the rich pomgranate glows;
The fruits their flavour, flow’rs their odour prove,
And here we taste true liberty and love.

Achsah & Othniel:
Our limpid streams with freedom flow,
And feel no icy chains;
No moulded hail, no fleecy snow,
Pollute our fruitful plains:
The years one vernal circle move,
And still the same
Like Othniel’s/Achsah’s love.

Caleb:
The walls are levell’d, pour the chosen bands,
With hostile gore imbrue your thirsty hands:
Set palaces and temples in a blaze,
Sap the foundations, and the bulwarks raze.
But, oh! remember, in the bloody strife,
To spare the hospitable Rahab’s life.

Thy mercy did with Israel dwell,
When the first-born of Egypt fell.
But, oh! what wonders did the Lord
At the Red Sea to us afford!
He made our passage on dry ground,
While Pharaoh and his host were drown’d.
He thro’ the dreary Desert led,
He slaked our thirst, with manna fed:
His glory did on Sinai shine,
When we receiv’d the law divine.

Caleb:
Joshua, the men dispatch’d by thee to learn
The strength of Ai, and country to discern;
Elate with pride, deluded by success,
Despised their pow’r and made the people less.
Easy of faith, we trust what they relate,
And now the hasty error find too late;
Our troops with shame repuls’d!—Oh, fatal day!
Hark! Israel mourns; triumphs the King of Ai.

Othniel: Heroes when with glory burning,
All their toil with pleasure bear;
And believe, to love returning,
Laurel wreaths beneath their care:
War to hardy deeds invites,
Love the danger well requites.

Caleb: No more. It wounds thy fame—Daughter, retire—
Oh! let thy bosom glow with warlike fire.
Thou know’st what craft the men of Gibeon us’d
To obtain their league, which else had been refus’d:
Soon did that treaty thro’ the heathen ring;
Adoni-zedeck, of Jerusalem king,
With the confed’rate pow’rs of most renown,
Have sworn to ruin the revolted town.
Firm to our faith, it never shall be said,
That our allies in vain implored our aid.

Othniel: Perish the thought! while honour hath a name,
Israel’s, or Gibeon’s cause is still the same.

Joshua:
Brethren and friends, what joy this scene imparts,
To meet such brave, such firm united hearts!
What tho’ the tyrants, an unnumber’d host,
Their strength in horse, and iron chariots, boast?
Now shines the sun, that fixeth Canaan’s doom;
Trust in the Lord, and you shall overcome.

(flourish of warlike instruments)

Caleb: Thus far our cause is favour’d by the Lord.
Advance, pursue; Jehovah is the word!

Joshua: Caleb, for holy Eleazer send,
And bid the chiefs of Israel all attend,
To execute th’Almighty’s great command,
And lot among the tribes the conquer’d land.

Caleb: With thee, great leader, when Jephunneh’s son
Was sent to view the nations thou hast won;
Hebron obtain’d, we all its produce sought,
Thick-cluster’d grapes, figs, and pomgranates bought;
The men, their prowess carefully survey’d,
And deem’d the conquest easy to be made.
Here would I stop—but, oh! unhappy fate!
The tim’rous spies a diff’rent tale relate,
Increas’d the danger, multiplied the foe,
And fill’d some dastard souls with panic woe.

Joshua: Firm as a rock, when billows lash’d its side,
Thou didst persist, and all their threats defied.
The men appeas’d, said Moses, man of God,
Caleb, the land whereon thy feet have trod,
Mark what I say! for tis the will of heav’n
Shall be to thee, and to thy children giv’n.
Behold! the promise of the man divine
I ratify, and Hebron now is thine.

Caleb: My cup is full; how blest is this decree!
How can my thanks suffice the Lord, and thee?

Caleb: Shall I in Mamre’s fertile plain,
The remnant of my days remain?
And is it giv’n to me to have
A place with Abrah’m in the grave?
For all these mercies I will sing
Eternal praise to heav’n’s high king.

Chorus of the Tribe of Judah:
For all these mercies we will sing
Eternal praise to heav’n’s high king.

Othniel:
O Caleb, fear’d by foes, by friends ador’d,
Well have we paid this tribute to thy sword;
But still, to make thine heritage complete,
Debir remains, Debir the giant’s seat.

Caleb:
Worn out in war, I find my strength decline;
Counsel alone, the gift of age, is mine.
Is there a warrior willing to pursue
The conquest, and that stubborn town subdue?
For him, for his, I amply will provide,
And to crown all, Achsah shall be his bride.

Joshua:
In bloom of youth, this stripling hath achiev’d
What scarce, in future times, shall be believ’d.
Mankind no sooner did pronounce his name,
But he stood foremost in the rolls of fame:
Tyrants he humbled, with the world’s applause,
And sav’d his country’s liberty and laws.

Caleb:
While lawless tyrants, with ambition blind,
Mock solemn faith, waste worlds, and thin mankind;
Israel can boast a leader, just and brave,
A friend to freedom, and ordain’d to save.
Thus bless’d, to heav’n your voices raise
In songs of thanks, and hymns of praise.